LISTSERV mailing list manager LISTSERV 16.0

Help for CLASSICAL Archives


CLASSICAL Archives

CLASSICAL Archives


CLASSICAL@COMMUNITY.LSOFT.COM


View:

Message:

[

First

|

Previous

|

Next

|

Last

]

By Topic:

[

First

|

Previous

|

Next

|

Last

]

By Author:

[

First

|

Previous

|

Next

|

Last

]

Font:

Proportional Font

LISTSERV Archives

LISTSERV Archives

CLASSICAL Home

CLASSICAL Home

CLASSICAL  May 2005

CLASSICAL May 2005

Subject:

A Label Puts Music From Films in Focus

From:

Ron Chaplin <[log in to unmask]>

Date:

Sat, 7 May 2005 13:02:19 +0000

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (135 lines)

My first exposure to music was as a child watching Farmer Grey cartoons
on the Uncle Fred Sales show, broadcast years before WNET on channel 13,
from Nutley, New Jersey, a few miles from New York City.  The cartoons
were composed of black on white line drawings and mainly concerned Farmer
Grey battling mice.  The background music, if memory serves me, was
mainly the same Strauss family polkas, repeated over and over.  I loved
the music, still do, but, engrossed in watching our Muntz black and white
TV, the repetitions didn't bother me, but it used to drive my mother
crazy as she cooked dinner.

   The New York Times
   May 7, 2005
   A Label Puts Music From Films in Focus
   By DANIEL J. WAKIN

   Like the dribble of an automatic coffee maker, a stream of classic
   movie music is issuing from the Naxos record label.

   They are not classical music staples like Leonard Bernstein's
   "On the Waterfront" score.  The titles include the classic, the
   arty, the obscure and the Grade B: "The Wolf Man," "The Maltese
   Falcon," "The Invisible Man Returns," "Red River," "King Kong,"
   "Captain Blood," "Les Miserables" and "Objective, Burma!"

   Naxos released 10 albums in February.  Another 3 are due this
   year, one each in May, June and September.  Most are cheaper
   reissues of recordings previously on the company's more expensive
   Marco Polo label, which has put out some 30 recordings of film
   music in recent years.  More reissues are expected.

   The releases are shining light on the works of a generation of
   journeyman composers who worked in Hollywood starting in the
   1930's.

   These composers were masters of swelling romantic melody,
   scampering chase music, stirring chords of triumph, sinister
   forebodings - and plenty of musical filler with all the character
   of cardboard.  It is an odd artistic position: the composers
   were shackled to a film's narrative while still striving to evoke
   emotions through the ear.

   They include Max Steiner, Adolph Deutsch, Franz Waxman, Bernard
   Herrmann, Erich Korngold and Dimitri Tiomkin.  The Naxos series
   also includes movie scores by well-known classical composers
   whose names in movie credits may be more surprising, like Georges
   Auric, Jacques Ibert, Dmitri Shostakovich and Arthur Honegger.

   Sales have been tiny but not inconsequential.  "There is a very
   well defined collector's market for soundtracks," said Klaus
   Heymann, the founder and chairman of Naxos.  "There are some
   grand tunes that can come from a symphony or orchestral piece.
   And there are people who like to have every note."

   Mr.  Heymann said the film score series would account for less
   than 1 percent of the label's yearly worldwide sales, which he
   put at about seven million.  "We do a lot of things that are not
   profitable," he said.

   The releases by Naxos, known for classical music, are a small
   testament to how much a part of the American classical music
   scene movie music has become.

   Other record companies, led by Sony Classical, have tilted toward
   soundtracks in recent years.  The violinist Joshua Bell regularly
   performs a violin concerto based on John Corigliano's score to
   "The Red Violin." A symphony derived from Howard Shore's "Lord
   of the Rings" score is making the rounds of orchestras.

   Film music programs have become entrenched in orchestra seasons
   as a way to draw ticket buyers.

   "The orchestral world is clearly trying to break out of its old
   and prescribed box," said Deborah Borda, the president of the
   Los Angeles Philharmonic.  "This has been seen as one way that
   orchestras in a fairly graceful way can reach out to new audiences.
   After all, so often the first music that people hear is film
   music."

   At the Los Angeles Philharmonic, movie music was generally
   confined to the Hollywood Bowl until two years ago, when it was
   brought into the main subscription concerts at the recently
   opened Walt Disney Concert Hall.

   The New York Philharmonic performed an evening of movie music
   last month for the second season in a row.  Both years' concerts
   sold out, said the orchestra's spokesman, Eric Latzky, a rarity
   when the orchestra, on average, is selling only four-fifths of
   Avery Fisher Hall.  Two movie nights are planned for next year.

   "Obviously we have discovered a substantial general public that
   is interested in this music," Mr.  Latzky said.

   Much of the film music in concert-hall programs is by contemporary
   composers who have written for recent movies.  Naxos is digging
   up more obscure archaeological specimens.

   John Morgan, a 58-year-old film composer who grew up in San
   Diego, has recreated many of the scores for Naxos, which contracted
   the recordings to the Moscow Symphony Orchestra.  Recording with
   the orchestra in Russia was a major cost-saver.

   "The people that love this stuff, they can't get enough," Mr.
   Morgan said.  "If you leave out one cue, the most mundane cue
   in the score, it's going to be someone's favorite cue, and you'll
   hear from them." Cues are passages of music often associated
   with specific scenes.

   Given the fragmentary and ephemeral nature of film scores, Mr.
   Morgan's work is painstaking.

   Movie composers often did not create full scores, and in those
   cases Mr.  Morgan had to rely on a piano reduction or several
   individual parts to produce one.  In the case of "King Kong,"
   he obtained Max Steiner's original pencil sketches from Brigham
   Young University, which holds the composer's papers.

   He examined the sketches and compared them to the soundtrack,
   which he listened to over and over to produce a complete picture
   of the music on paper.  When there was a score in other cases,
   it sometimes did not match the finished product because of
   last-minute changes to match the images.

   Reconstruction was not an easy task.

   "In 'King Kong,' there's a lot of fast-running-around music,"
   he said.  "Millions of notes."

   "I just love dramatic music," Mr.  Morgan added.  "For a guy
   like me, who still has that old-fashioned heart, I guess film
   is the only place you can make a living with your heart on your
   sleeve."

    * Copyright 2005 The New York Times Company

Ron Chaplin

Top of Message | Previous Page | Permalink

Advanced Options


Options

Log In

Log In

Get Password

Get Password


Search Archives

Search Archives


Subscribe or Unsubscribe

Subscribe or Unsubscribe


Archives

May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
August 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
August 2008
July 2008
June 2008
May 2008
April 2008
March 2008
February 2008
January 2008
December 2007
November 2007
October 2007
September 2007
August 2007
July 2007
June 2007
May 2007
April 2007
March 2007
February 2007
January 2007
December 2006
November 2006
October 2006
September 2006
August 2006
July 2006
June 2006
May 2006
April 2006
March 2006
February 2006
January 2006
December 2005
November 2005
October 2005
September 2005
August 2005
July 2005
June 2005
May 2005
April 2005
March 2005
February 2005
January 2005
December 2004
November 2004
October 2004
September 2004
August 2004
July 2004
June 2004
May 2004
April 2004
March 2004
February 2004
January 2004
December 2003
November 2003
October 2003
September 2003
August 2003
July 2003
June 2003
May 2003
April 2003
March 2003
February 2003
January 2003
December 2002
November 2002
October 2002
September 2002
August 2002
July 2002
June 2002
May 2002
April 2002
March 2002
February 2002
January 2002
December 2001
November 2001
October 2001
September 2001
August 2001
July 2001
June 2001
May 2001
April 2001
March 2001
January 2001
December 2000
November 2000
October 2000
September 2000
August 2000
July 2000
June 2000
May 2000
April 2000
March 2000
February 2000
January 2000
December 1999
November 1999
October 1999
September 1999
August 1999
July 1999
June 1999
May 1999
April 1999
March 1999
February 1999
January 1999
July 1997

ATOM RSS1 RSS2



COMMUNITY.LSOFT.COM

Secured by F-Secure Anti-Virus CataList Email List Search Powered by the LISTSERV Email List Manager